Johannes Kalitzke | Dirigent | direttore
Gunde Jäch-Micko | Violine solo | violino solo
Markus Deuter | Oboe | oboe
Thomas Frey, Doris Nicoletti, Zinajda Kodrič | Flöten | flauti
Olivier Vivarès, Bernhard Zachhuber | Klarinetten | clarinetto
Gerald Preinfalk | Saxophon | sassofono
Anders Nyqvist, Markus Schwind | Trompete | tromba
Christoph Walder, Reinhard Zmölnig | Horn | corno
Andreas Eberle, Daniel Riegler | Posaune | trombone
József Bazsinka sen. | Kontrabasstuba | tuba
József Bazsinka jun. | Basstuba | tuba
Gunde Jäch-Micko, Annette Bik | Violine | violino
Dimitrios Polisoidis, Ulrich Mertin | Viola | viola
Benedikt Leitner | Violoncello, Windmaschine | violoncello, macchina del vento
Andreas Lindenbaum | Violoncello | violoncello
Uli Fussenegger, Nikolaus Feinig | Kontrabass | contrabbasso
Florian Müller | Midi-Keyboard
Lukas Schiske, Björn Wilker, Igor Gross| Schlagwerk | percussioni
Peter Böhm, Florian Bogner | Sounddesign
Sven Hartberger| Moderation| moderazione
The Isabella Scelsi Foundation is today actively working to promote the Giacinto Scelsi’s work and recognition in Italy and abroad, organizing and coordinating research project, editions, scores and performance activities, in cooperation whit international cultural Institutions.
Giacinto Scelsi > Kompositionskizze zu "Anahit" NM G0177-309
Giacinto Scelsi > Anahit
Ragnhilf Berstad> Cardinem
Tristan Murail > Un Sogno -prima italiana
"Un nuovo mezzo strumentale" -Video
Giacinto Scelsi > i presagi
Georg Friedrich Haas > Introduktion und Transsonation
On the basis of some of the most sophisticated of these unpublished sound documents, Ragnhild Berstad, Pierluigi Billone, Georg Friedrich Haas, Fabien Levy, Tristan Murail, Michael Pelzel, Michel Roth and Nicola Sani will compose new pieces for Klangforum Wien. In the course of this project, Giacinto Scelsi REVISITED, offering some insight into the universe of one of the most complex artistic personalities of the 20th century, Scelsi’s voice will become audible – he recorded a kind of memoir on tape – as well as the sound of the Ondiola, played by himself, which to date has never been heard in a concert hall.
For more than twenty years after Giacinto Scelsi’s death in Rome on August 9, 1988, the doors to the archives of the Fondazione Isabella Scelsi remained locked. Conjecture, speculation and rumours about Scelsi’s work abounded during this time; however, hard facts and a deeper understanding of his techniques as composer were impossible to come by, due to the rigorously denied access to his papers.
In the course of a joint project between the Fondazione Isabella Scelsi and Klangforum Wien. In 2011 Klangforum Wien inspected the existing sound documents of the foundation and he made some spectacular discoveries: Scelsi’s so-called “improvisations”, which he played on an Ondiola and then allegedly passed on to his assistants to be transcribed as pieces for ensemble and orchestra, reveal themselves to be in fact quite advanced work notes – if not actually complex compositions. In the course of a multi-leveled work process, they were recorded on tape during repeated sessions.
Klangforum Wien is supported by Erste Bank, Ernst von Siemens Musikstiftung and Fondazione Isabella Scelsi.
The Historical Archive of the Foundation constitutes the main tool for the real and deep knowledge of the music and life of Giacinto Scelsi, disclosing a wealth of multimedia information of considerable importance in contemporary music.